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Treasure Quest
Treasure Quest
Key - these should enable you to search for the same thing on each
screen (e.g. by searching for '.a')
.a Audio clues (EP Earthbound Poltergeist, DP Deceased Professor, SG
Spiritual Guide)
.c Curiosities - things that intrigue me
.d Description of screen
.e Errors - unintentional or possibly intentional
.f Sound effects
.h Hotspots
.i Identification - of paintings, quotations etc.
.m Animations, puzzles etc. - anything that moves, varies according
to date or time or that you have to enter
.q Quote derivations ***These have been removed from this version
unless officially published to prevent disqualification***
.r Reached from (screen(s))
.s Song fragments
.u Ultimate references ***These have been removed from this version
to prevent disqualification***
.v Video clues
.w Words on screen, either superimposed on the picture or contained
within the picture
.x Explanations of hints ***These have mostly been removed from
this version to prevent disqualification***
The room numbers correspond to the .WAV filenames on the CD, and the
entries in the Notebook. Commentaries are given in square brackets.
??? signifies something I haven't solved.
OC
OPENING CREDITS
oc.1
SYSTEM STATUS SCREEN
oc.1.d Scroll
oc.2
TREASURE QUEST SCREEN
oc.2.d Picture of house and garden, with a letter at top left in the
background
oc.2.w TREASURE QUEST TM Starring Terry Farrell; ...why I've
chosen you.. potential recipients of my fortune.. ..ver: you have
brought me the gre.. in my life. Your quest for knowledge .. ..me
and carried me through times.. ..learning and teach.. ..there to pass
the.. .. you must.. ..In ..s.; Man is a threefold creature having
spir..; puzzle anything that ..ouses curiosity or perplexes the
..ecause it is ..nexplained; 5
oc.2.m The screen slowly comes into view
oc.3
THE HOUSE
oc.3.m before reaching this screen: 9 shots of house, increasing in
size, with sound effect as if photographs being taken; upon reaching
the screen, the lights in two rooms and the verandah come on and off.
oc.3.d a view of the house; what is that on the verandah to the left,
a giraffe?
oc.4
THE GATEWHEEL
oc.4.h chair - DEN Entrance screen; lamp - BEDROOM Entrance
screen; chessboard - GAME ROOM Entrance screen; kettle - KITCHEN
Entrance screen; three books - LIBRARY Entrance screen; padlock CELLAR Entrance screen; telephone - LIVING ROOM Entrance screen;
trunk - ATTIC Entrance screen; flower - GARDEN Entrance screen;
mask - DINING ROOM Entrance screen; centre of screen - EXIT
oc.4.w 36 72 108 144 216 252 288 324
oc.4.d the background is a blurred Rand-McNally-type map; there are
concentric large and small circles in the centre, with ten lines
radiating from the centre, each with an even smaller circle on top of
them just outside the larger circle; each of the ten room icons are
shown at the intersections of the lines and the larger circle; in the
centre is a black and white image of the front of the house.
oc.4.i the map is of south-western Minnesota
1
THE MINUTES.; 1 2 3 4 5 6 7 8 9 10 11 12
1.10.d Clock showing 1.21 [1+4=5]
1.10.c Possible reflections in clock face
click on clock:
1.06
ROULETTE SCREEN
1.06.r screen 10
1.06.h sphere - screen 07
1.06.a [den_06a.wav] EP: Will you be able to find the answer that's
inside; [den_06c.wav] DP: Think of it as a document in disguise;
[den01-t.wav] SG: The first one is the verb, not the noun
1.06.s [denmus02.wav] Your life was tragically misunderstood
1.06.f [pendulum.wav] Large clock ticking; [largeclk.wav] clock
ticking
1.06.w what was written on September 28th 1988? (with 'opposition'
symbol through it); 2x; twice; 0 90 180 270; PENDULUM AT 12.30 PM
1.06.d Large roulette wheel with numbers 0 - 41 round it; faint
clock face superimposed (same as in clock screen) - 12 o'clock is
between 9 and 10 on dial; on wheel is roulette ball with gyroscope
reflected, arrow pointing to between 8 and 9 on dial, and object like
printer ribbon?
1.06.i This could be the base of the Foucault pendulum at the Griffith
Observatory, Los Angeles
1.06.c what is the purpose of the pendulum? What is the object near
the top of the roulette wheel? Why 0 - 41, and not 0 - 36 as normal?
click on sphere:
1.07
GYROSCOPE SCREEN
1.07.r screen 10
1.07.h gyroscope - screen 18
1.07.a [den_07a.wav] EP: Uncle Sam wants you; [den_07c.wav] DP: The
God of the sun appears here and in New York
1.07.i den_07a: Apollo is the god of the sun; there is an Apollo Theatre
in New York; quote: this is a slightly amended version of text from the
book Mythic Astrology 'this is why all sun gods symbolize a balance between
the unconscious life-force and the will or purpose which directs it';
Shamash, Ra Atum Khepri and Helios are all sun gods in different cultures
1.07.f [gavel01.wav] Five metallic bangs
1.07.s [denmus07.wav] You cleared a path and carried on
1.07.w They symbolize a balance between the unconscious life-force
and the will which directs it; Shamash - the upholder of truth and
justice; Ra Atum Khepri ... "he who comes into being" ... "he who
completes or perfects" ; Helios, son of Hyperion and brother of
Selene and Eos
1.07.x three Egyptian gods: Ra (sun) Khepri (scarab) Atum (sun), all
represented by the sphinx
1.07.d A gyroscope with a zodiac band around it, and another,
fainter copy. The visible signs are Aries, Taurus, Gemini and (on
the copy) Cancer. There could be a distorted image of something
behind the copy
1.07.c Is there a distorted image behind the copy?
click on gyroscope:
1.18
GAZEBO SCREEN
1.18.r screen 07
1.18.a [den_18a.wav] EP: What you don't see is just as important;
[den_18c.wav] DP: Align the letters and build a sentence
'You've reached Bugz B Gone. Now's the time for those nasty little
critters to be crawling around in your basement. Make sure you have
a bug-free home. Have one of our trade specialists visit your home
for a free no obligation critter consultation - and be sure to ask
about our nine-room special' - Text version 'You have reached the
exterminator. If your software has bugs in it call David Whipple and
Christian Huygen - THE EXTERMINATORS'; 779 2442: [c_crysta.wav]
'Hello, you have reached Crysta. I'm seeing the future for another
client right now, but I'll be sure to call you back. Thanks for
calling and have a mystical day' - Text vesion: 'You have reached
your psychic. Your luck is going to change'; 677 8379:
[stone_mr.wav] 'Hello? Who? Cliff or Flora Stone? Who is this?
Cliff and Flora were my grandparents but they both died years ago.
Sorry - you must have gotten an old number' - Text version: 'You have
reached Mr. & Mrs. Stone.'
1.15.x Christian Huygens [sic] was a 17th century Dutch physicist
who improved the telescope
back; click on will:
1.16
WILL SCREEN
1.16.r screen 08
1.16.a [w1.wav] DP: Know all men by these presents that I, Jonathon
William Faulkner of Boston Massachusetts, do declare that this is my
Last Will and Testament, dated this 28th day of September, in the
year of our Lord, Nineteen Hundred and Eighty-Eight. I hereby revoke
all former testamentary dispositions made by me and declare this to
be my last will and testament. I hereby appoint the law firm of
Sulieman, Adams & Jabinsky to be my Executor and direct that all my
just Debts and Funeral and Testamentary expenses be paid as soon as
convenient after my decease. I hereby give and bequeath to you, my
students, my entire fortune in the sum of one million dollars. To
receive this inheritance, however, it is necessary for you to solve
the mystery I've left behind. The quest I lay before you will
challenge you as no other. To solve it you must use all that you
see, all that you hear, all that you are, and all that you will
become. For the treasure you will receive will be much greater than
its monetary value. I have left a letter in the care of my
solicitors with specific instructions on solving the mystery. Upon
my death, you will receive these instructions and may choose to seek
the lessons I leave behind. Education never ends, it's a series of
lessons with the greatest for the last. Good luck; [den_16a.wav] EP:
The clue is itself; [den_16c.wav] DP: The second to the last is
fulfilled within; [den04-t.wav] SG: It's an article, one of three
1.16.w it's an article; one of three; 3x; Writing IN(K); (copy of
will), except that the two lines 'necessary for you ... you see.
All' are repeated twice; Jonathon William Faulkner; the first
paragraph from 'esents' to 'neteen' is shown again in large type in
the background with letters aligned in columns
1.16.m Clicking near the word 'will' causes the will to be read
1.16.d bottle of ink, lid and pen; seal; will
1.16.e why are two lines of the will repeated twice?
Back; click on lamp:
1.12
1.12.r
1.12.h
1.12.a
1.12.f
LAMPS SCREEN
screen 05
pillar - BEDROOM screen 13
[den_12a.wav] EP: Join me for some tea? [in Scandinavian accent?]
[column1.wav] Tapping
1.12.d corner of den with two chairs, a table, two lamps, and a
stained-glass window and candle as in the bedroom; a mirror in which
there are strange reflections [possibly letters I and S]; a white
pillar
1.12.c what are images in mirror?
Back; click on horseman [during full moon]:
1.13
MOON SCREEN
1.13.r screen 05 [during full moon], LIBRARY screen 18
1.13.h horseman - screen 11
1.13.a [den_13a.wav] EP: Santa's second; [den_13c.wav] DP: A dead
king and a celestial body will become your friends; SG: C'mon, join
the fun, join us
1.13.x den_13a: could be 'A', 'Claus', Dancer (second reindeer);
Moon Code is similar to Braille in that it is designed to be printed
raised from the paper for the blind
1.13.f [horse02.wav] Horse walking
1.13.w [Moon Code for] opposite of to separate
1.13.d Representation of crescent moon; metal full of holes with
strange man on horse behind; series of pillars going into distance
alternating hollow ones with lights on top and solid ones with
trumpeters on top
1.13.i Horseman is 'Racehorse and Jockey' by Isidore Bonhuer
click on horseman:
1.11
SEA SCREEN
1.11.r screen 13; ATTIC screen 04
1.11.h 'like a wild beast in its den' - screen 03; horseman ATTIC screen 13
1.11.a [den_11a.wav] EP: It's like a boat on a desert [camel?]
1.11.f [growl01.wav] Roar; [ocean01.wav] sea; [horse03.wav] horse
snorting
1.11.w "I hate to be near the sea and to hear it roaring and raging
like a wild beast in its den. It puts me in mind of the everlasting
efforts of the human mind struggling to be free, and ending just
where it began."; William Hazlitt (1778-1830), English essayist
"Common Places," no. 60 Literary Examiner (London, 8 Nov. 1823: repr.
in Collected Works, vol. 11, ed. by A.R.Waller and Arnold Glover,
1904).
1.11.s [denmus01.wav] I seek a distant hideaway
1.11.d Probably actual image of Napoleon? on a horse at night, with
distant city lights
1.11.i statue is of George Washington and is on Boston Common, Boston
Click on 'like a wild beast in its den':
1.03
BULL SCREEN
1.03.r screen 11
1.03.a [den_03a.wav] EP: Wanna go a round?; [den_03c.wav] DP: The
alpha and the omega are the beginning and the end
1.03.x den_03a: possibly meaning triangle; wisdom, will, activity
correspond to mutable (Gemini, Virgo, Sagittarius, Pisces), fixed (Taurus,
Leo, Scorpio, Aquarius) and cardinal (Aries, Cancer, Libra, Capricorn)
zodiac signs respectively; aleph is the first letter of the Hebrew alphabet
1.03.f [dentist.wav] dentist's drill; [bull01.wav] bullfight sounds
1.03.s My little dancer, I know you well
1.03.w ALEPH; wisdom will activity [in a triangle]
1.03.d A bull charging, with echoes of the holes in metal behind
2.06
CROCODILE SCREEN
2.06.r screen 04
2.06.a [lib_06a.wav] EP: They always smile at you; [lib_06c.wav] DP:
Five, but only two nouns
2.06.v [l5ls3.avi] Shhh! No talking aloud. So be quiet, will you?
Believe me, I found out the hard way when the Professor was still
around, believe me. Well, if he wanted absolute silence in here, why
did he install that [points to her right] telephone? Hmm ... I wish
I had thought to confront him on that one.
2.06.w [case of c, w, o and s not always clear] it is the WisDoM OF
the CroCoDileS thAt SheD teArs when they woulD Devour; 2
2.06.d view from right of fireplace in colour, with 2 on black
rectangle in front - with six line emanating from it of varying
thickness; possibly recognisable book is in wicker basket
2.06.c again, is upper/lower case significant?
back; back; back; click on metal box [during full moon]
2.18
MOON SCREEN
2.18.r Screen 15 [during full moon]
2.18.h Moon - DEN screen 13
2.18.s [libmus07.wav] Is he under the moonlight thinking of me?
2.18.a [lib_18a.wav] EP: The moon will not give its light;
[lib_18b.wav] EP: This will faze you; [lib_18c.wav] DP: The sun will
be darkened and the moon will not give its light; [faint writing at
bottom right:] Matisse or Matthew?
2.18.w The sun will be darkened and the moon will not give its light
[Book of St Matthew 24:29]
2.18.d square area of screen used only: has sun rays (same as on
safe lock), faint moon shape as in den, light as at top of pillar in
den; faint chequered pattern, and blurred cuboid shape made of
coloured blobs
back; back; click on piano:
2.17
VIEWS SCREEN
2.17.r screen 07
2.17.h piano - screen 11; right bookshelf - screen 12; left
bookshelf - screen 03
2.17.a [lib_17a.wav] EP: Shhh! Don't wake the dead
2.17.f [desk01.wav] roll-top desk opening/closing; [piano01.wav]
piano music
2.17.i ??? piano music
2.17.s [libmus03.wav] I know that some day, we'll meet again
2.17.w 1 2 3
2.17.d Black and white view of left of library, contains
bookshelves, piano, table with ornament and newspaper, window; three
sepia close-ups on top, one of desk, one of piano and one of
bookshelf (the three hotspots)
click on left bookshelf:
2.03
DESK SCREEN
2.03.r screen 17
2.03.h books - screen 05
2.03.s [libmus07.wav] Is he under the moonlight thinking of me?
2.03.a [lib_03a.wav] EP: The art of storytelling; [lib_03b.wav] EP:
The end of one is the beginning for another
2.03.f [book03.wav] page turning; [desk01.wav] roll-top desk
opening/closing
2.14.d blurred book open about a third of the way through, glasses
covering width of book magnifying one word, although rest of book can
be seen through glasses unmagnified
click on book:
2.B
LANGUAGE AS REALITY IN THE THIRD POLICEMAN
2.B.w Since the beginnings of Western Civilization, the process
deemed "logic" has governed the languages of Western cultures. The
authority of logic has reached the point where the reality of the
citizen in the Western world is based on language which must agree
with the prevalent system of logic in order to be considered
"reality." A different system of logic may classify things in
different ways. Michel Foucault illustrates this with an example
from animal taxonomy. "This passage quotes a certain Chinese
encyclopaedia in which it is written that animals are divided into
a) belonging to the Emperor, b) embalmed, c) tame, d) sucking pigs,
e) sirens, f) fabulous, g) stray dogs, h) included in the present
classification, i) frenzied, j) innumerable, k) drawn with a fine
candlehair brush, 1) et cetera, m) having just broken the water
pitcher, n) that from a long way away look like flies. In the
wonderment of this taxonomy, the thing we apprehend in one great
leap, the thing that, by means of this fable is demonstrated as the
exotic charm of another system of thought, is the limitation of our
own, the stark impossibility of thinking that." (Foucault xv) The
person raised in a Western society would probably take issue with
this system stating that it is "illogical." in some way. The
classification system used by the Western world would most likely be
that of the accepted animal taxonomy: kingdom, phylum, class, order,
family, genus, species. The average Westerner would declare this
system as logical and would discount the Chinese system, as well as
any other system which did not conform to his logic. All of the
logic of the Western world began with Socrates, but his "logic" may
have had some flaws in it that are no longer discernible since they
have become an ingrained element of Western societies, their cultures
and languages. "The move from the major premise (all men are mortal)
to the choice of the datum to serve as the minor (Socrates is a man)
is itself a tropological move, a 'swerve' from the universal to the
particular which logic cannot preside over, since it is logic itself
which is being served by this move." (White, 3) This raises the
question that perhaps "logic" was invented to prove logic. This
seemingly circular argument illustrates the problem den a reader
encounters when she attempts to interpret prose. The problem that
arises is that any text is as the first one is the verb, not the noun
much about language as it is about its subject matter. "Discourse,
in a word, is quintessentially, a mediative enterprise. As such, it
is both interpretive and preinterpretive; it is always as much about
the nature of interpretation as it is about the subject matter which
is the manifest occasion of its own elaboration." (White, 4) The
logical way in which a reader will interpret a text will be based
upon her concept of reality. And this reality will be based upon her
language because language and logic are invariably tied together,
making reality a linguistic concept. In Flann O Brien s novel, The
Third Policeman, he presents a novel that delineates the foregoing
concept. Each character has his own language and, therefore, his own
reality. O Brien illustrates the problems that can library occur
when two individuals don t speak the same language, not meaning
German or French, but a language that differs in its underlying when
you stay longer than you plan logical structure. The reality that
each character sees is based upon their "logical" beliefs and views
about the world. Jim, the protagonist, roots his reality deeply in
DeSelby, an "absurdist" French philosopher. When Jim dies, his train
of thought does not change drastically. For him to see things which
would be strange to the average Westerner, i.e. the ghost of Old
Mathers, the man who Jim had murdered, would not be strange to Jim
because of his belief in the views of DeSelby. O Brien quotes
DeSelby on the first page of the novel as saying that: "Human
existence being an hallucination containing in itself the secondary
hallucination of day and night (the latter an insanitary condition of
the atmosphere due to accretions of black air) it ill becomes any man
of sense to be concerned at the illusory approach of the supreme
hallucination known as death." (O Brien cover page) This quote would
not seem logical to the average Westerner (and perhaps not to the
average Easterner either) because, in English, and most likely in
German, French and even Arabic, there is a loose feature on the word
"death" that indicates that it is a state that is after life and
could not be simply a hallucination. Some might allow
"hallucination" and "death" to be metaphorically connected, but this
is not the sense in which DeSelby and, therefore, Jim are using the
words. DeSelby s reality contains a linguistic process in which
"hallucination" and "death" become equal. To Jim, this is also true.
At the end of the novel when Divney tells Jim that he has been dead
for 16 years, Jim doesn t act very strange. The scene in which Jim s
reaction to Divney s comments is described has qualities about it
which could be described by the word "hallucination," as it occurs in
the lexicon of most ative English speakers: "I did not know whether I
[Jim] was surprised at what he said, or even whether I believed him.
My mind became quite empty, light, and I felt as if it were very
white in colour. I stood exactly where I was for a long time without
moving or thinking." (197) Many English speakers would use the word
"hallucination" to describe the above experience. But hardly any
would go ahead and equate that state to "death." However, DeSelby and
Jim do equate the two, therefore altering their concept of reality as
based upon their language. Jim is also cognizant of the fact that
others speak a different language than he. At one point, immediately
after he meets MacCruiskeen, the first policeman, he is struggling to
comprehend MacCruiskeen s language. Jim feels that if he can
understand MacCruiskeen s language, he can then comprehend the
"reality" which is occurring all around him. Jim says: "That was
very competent masterwork, I said, endeavouring to speak his own
language." (71).
MacCruiskeen s language is very different
from that of Jim and also that of most native English speakers. He
describes the point of a spear to Jim in a way that would make most
"logical" people shudder. He explains: " That is the real point,
said MacCruiskeen, but it is so thin that it could go into your hand
and out in the other extremity externally and you would not feel a
bit of it and you would see nothing and hear nothing. It is so thin
that maybe it does not exist at all and you could spend half an hour
trying to think about it and you could put no thought around it in
the end." (69) This seems nonsensical to the average reader s
"logical" mind, and they may simply dismiss this as a fantasy, a
dream, or some other non-living, illogical state. But this is
MacCruiskeen s reality based upon his Weltanschauung. In his
lexicon, it is not impossible or illogical to try and think a thought
and not be able to do it. To the average Westerner, to think about
thought or a thought would invariably lead to some "thought," even if
it wasn t the thought one was trying to think. MacCruiskeen s
influence on Jim is simply to make him question (as O Brien is trying
to make the reader question) as to whether reality can be different
to different people. Jim realizes this while MacCruiskeen is working
with the minuscule chests: "I shut my eyes and prayed that he would
stop while still doing things that were at least possible for a man
to do." (73) What Jim believes a man can do and what MacCruiskeen
believes that a man can do are two different versions of reality
based upon the different quality each believes a "man" and the word
"man" can possess. To MacCruiskeen it isn t strange for a "man" to
work with invisible chests, but to Jim, concrete things, such as
chests, must be visible. MacCruiskeen s language, and, therefore,
his reality, does not include this restriction. His reality and
language includes the possibility of concrete invisible objects.
When Jim leaves MacCruiskeen, he is confused, but he does not know
what he will yet encounter. Sergeant Pluck s discourse also presents
another version of reality that Jim does not quite comprehend when he
first encounters it. Pluck, the second policeman, introduces the
idea that bicycles are partially human. The average Western reader
would immediately discount this as ridiculous. Sergeant Pluck
describes this phenomena as a result of people s close relation to
bicycles. " The gross and net result of it is that people who spent
most of their natural lives riding iron bicycles over the rocky
roadsteads of this parish get their personalities mixed up with the
personalities of their bicycle as a result of the interchanging of
the atoms of each of them and you would be surprised at the number of
people who nearly are half people and half bicycles. I let go a gasp
of astonishment that made a sound in the air inadmissible, was not
understood by the eye and was in any event indescribable." (135)
Jim s reality and his language do not have the capacity to explain
the things that he is encountering. But MacCruiskeen and Pluck do
not seem to have any problem in considering the objects as real and
belonging in their present place. By the time Jim meets Sergeant
Fox, he has escaped "death" within this realm of being dead. At this
point, the average reader is probably struggling with the questions
of reality just as Jim is. When Jim first encounters Sergeant Fox,
he thinks that perhaps Fox is "normal," but he soon realizes that Fox
is not "normal" according to Jim s perception of reality. First, Fox
is huge and climbs in a very small window without any problems. At
this point, Jim thinks: "I do not know how he accomplished what did
not look possible at all." (181) In Jim s version of reality, huge
things cannot rearrange themselves in order to fit into a small
window. Then Fox takes Jim into a police station which is inside the
walls of Old Mather s house. "The dimensions of the place in which I
[Jim] found myself were most unusual. The ceiling seemed
extraordinarily high while the floor was so narrow that it would not
have been possible for me to pass the policeman if I had desired to
do so." (181-182) When Jim realizes that they are inside the walls of
Old Mather s house, he also looks carefully at Sergeant Fox, and sees
that he has Old Mather s head. He is, to Jim, Old Mathers. Then a
few sentences later, Sergeant Fox has a different face, and is, once
again, completely Sergeant Fox, and not Old Mathers. It would seem
like Jim is hallucinating, and that is completely the point that
O Brien is trying to make: How does anyone know that life or death is
not a hallucination? Jim also encounters a problem with Sergeant
Fox s language. Fox begins asking about strawberry jam and Jim does
not understand the relevance of this topic. So Fox asks him about
being in the underground paradise with Pluck and MacCruiskeen. Jim
admits that the place did exist because he can speak about it. Once
again, "reality" exists because it can be described, at least
partially, in words. But as Fox explains it, it is all very simple.
" Like everything that is hard to believe and difficult to
comprehend, he said at last, it is very simple and a neighbor s
child could work it all without being trained. It is a pity that you
did not think of the strawberry jam while you were there because you
could have got a barrel of it free of charge and the quality would be
extra and superfine, only the purest fruit-juice used and little or
no preservatives." (187) Sergeant Fox seems to believe that
strawberry jam, a rather trivial thing to most, is what Jim should
have desired in the "eternity" that Pluck and MacCruiskeen took him
to. Jim doesn t understand until Fox reveals that the reason
everything took place was because of "the box." Jim thought that the
box contained money, but Fox informed him that the box contained four
ounces of omnium. So Jim s box contained four ounces of everything.
This is hardly conceivable to the average reader because a small
metal box would not be big enough to hold four ounces of everything.
Jim was still confused at this point, but when Fox tells him that the
box is now at his house, Jim seems relieved. It is as if the mention
of things Jim is familiar with from his "reality" calm him down and
make him believe that he is getting back to his "reality". When he
leaves Sergeant Fox, the reader must feel, as Jim does, a sense of
relief. Perhaps things will return to "normal." But at the end of
the novel, things simply start over now that Divney is also dead. He
and Jim will probably encounter the same types of "things" again.
But will Divney tell the story in a different way? Will the same
things seem strange to Divney that seemed strange to Jim? These
questions all depend on Divney s language and his reality. O Brien
wants the reader to leave the book with these questions. Would
things have been the same if one of the other characters had told the
story? Undoubtedly, they would have been very different if
MacCruiskeen had been the narrator. The average reader may not have
been able to make any sense of what he was saying, and this is
precisely what O Brien wants the reader to realize. O Brien
deliberately manipulates language throughout the book to show the
reader what language is. He also makes comments about language that
the reader should pick up as very relevant to the structure of the
novel. MacCruiskeen makes a comment to Jim when Jim confides that he
has no bicycle that: " But I cannot get over what you confided in me
privately sub-rosa about the no- bicycle, that is a story that would
make your golden fortune if you wrote down in a book where people
could pursue it literally. " (69) O Brien is playing with the word
"literally." When someone reads a text, they often do take it
"literally," word for word. This way of reading does allow language
to dictate reality. If one were to read the sentence, "The sun is an
apple" literally, then one would believe that "sun" and "apple" are
equal and have the same features and qualities. O Brien is making
the point that perhaps people take things too literally. The readers
should always allow the possibility of other interpretations. At
another point in the novel, Jim asks Sergeant Pluck to " open a door
and lift out a solid block of gold weighing half a ton. To which
Pluck replies: " But that is impossible, it is a very unreasonable
requisition, he said.
It is vexatious and unconscionable, " and
later, " there is a limit and a boundary to everything within the
scope of reason s garden. " (136) Jim really doesn t believe that
Pluck can perform the task he asks him to do. Something that weighs
a "ton" cannot be lifted by a "man." Reason and logic dictate this
maxim in the language of most people. Since Pluck dismisses it as
being beyond the scope of "reason s garden," it must also be outside
the reality of his language. But the question remains as to whether
or not there would he a person whose language and reality would allow
for such a feat. O Brien also uses a subtle humor to make the reader
realize the connection between language and reality. At the end of
the chapter where Jim first meets with MacCruiskeen. MacCruiskeen
asks for Jim s opinion of what has been said. Jim replies: " I think
click on piano:
2.20
PIANO SCREEN
2.20.r screen 11
2.20.h piano - DINING ROOM screen 18
2.20.f [piano02.wav] piano music; [violin02.wav] violin music
2.20.i piano is same as screen 11; violin music is Minuet by Boccherini
2.20.a [lib_20a.wav] EP: sing the song; [lib_20c.wav] DP: click
click click
2.20.w -.- -. --- .-- .-.. . -.. --. .
2.20.d Background is sheet of music, with faint violin on it; in
foreground is piano and stool
back; back; click on right bookshelf:
2.12
MIRROR SCREEN
2.12.r screen 17
2.12.h upper picture - screen 19
2.12.a [lib_12a.wav] EP: The fireplace
2.12.w It is the province of knowledge to speak, and it is the
privilege of wisdom to listen Sir Oliver Wendell Holmes The Poet at
the Breakfast Table; 1 2 3 4 5 6 7 ... 88 [number of keys on piano]
2.12.d Black and white view of fireplace; on top, colour mirror with
(not inverted) image of piano, bookshelves and desk; red lines
emanating from piano, and numbers flying out; two colour pictures at
right, upper one of Brooklyn Bridge, lower unidentified
click on upper picture:
2.19
SPIDER SCREEN
2.19.r screen 12
2.19.h spider - ATTIC screen 04
2.19.a [lib_19a.wav] EP: The shadows in my cave are legendary, who
am I?; [lib_19b.wav] EP: It's Greek to me; [lib_19c.wav] DP: The
Symposium
2.19.w The shadows in my cave are legendary. Who am I?
2.19.d Brooklyn Bridge with one lamp post at right and US flag on
top on cracked paint?; spider on right and spider's web with centre
at top left: centre of web (possibly with spider at it) is missing
2.19.m spider wriggles occasionally; entering solution to puzzle
allows entry to the Attic for the first time
3
And if we know when to let things be. I was blind to judge, it's not
up to me. Content with working on myself, it's the only cheese I
need to chase. And it's not easy to take off the shelf the very
things that held you back from the rat race. and learn from
yesterday, and learn from yourself, and learn from total strangers
and you will find what you're looking for. Wasn't it yesterday that
I learned the golden rule? What held me back from putting it in
effect? It's not what we say, talk is cheap. It's not what we say
we're gonna do. Actions are the ones who speak. It's not what we do
it's what we don't. It's if we say we will and then decide we won't.
Where the heart is resisting but the soul is crying to pick up the
slack and bring this baby back. Just to let ourselves know that we're
tryin' to crack the case that keeps us trying. The case that keeps
us trying. To pick up the slack and bring this baby back. Just to
let ourselves know that we're trying to crack the case that keeps us
trying.
3.00
3.00.r
3.00.s
3.00.d
what is
3.00.f
3.00.h
ENTRANCE SCREEN
Gatewheel
[whatwedo.wav] Introduction
Telescopic ladder leading to attic hatch. Can't make out
through hatch
[on click] [ladder01.wav] ladder opening out
Hatch - screen 03
click on hatch:
3.03
ATTIC SCREEN
3.03.r Entrance screen
3.03.h gold door - screen 01; trunk - screen 09; gears - screen
12; window - screen 13
3.03.d Background is heavy machinery; mid ground is picture of attic
with gold shutter and window in colour, doorway, top of hatch, roof
with plasterboard, noose wrapped around rafter, upturned metal tub,
pile of wallpaper?, wires near door, unidentified object through
door.
3.03.f [attdoor1.wav] Door slamming; [attfoot1.wav] footstep;
footsteps (same as at start-up?); [trunk02.wav] single break noise
3.03.v [l3as5.avi] How can one balance on stiletto heels? The
answer, of course, is that it's not possible. I have reason to
believe that there's a seat in the house that needs to be filled
3.03.a [att_03a.wav] EP: Here, yesterdays live
3.03.s [attmus01.wav] Wasn't it yesterday
click on gold door:
3.01
GERMAN SCREEN
3.01.r Screen 03
3.01.h Doorway - screen 06; basin - screen 15
3.01.a [att_01a.wav] EP: Do you see the light?; [att_01c.wav] DP:
Sprechen zie Deutsch?
3.01.v [l3as1.avi] I _am_ big! It's the pictures that got small!
No, no photographs, please! (more like old self) I could go on and
on, believe me. You know, it's an interesting experience seeing the
world through someone else's eyes. (wraps fur around neck)
3.01.s [attmus02.wav] I can hardly remember it now
3.01.d Top half black, bottom half grey; on top is picture of attic
as in screen 03, but all yellow, and window and gold shutter are both
just bright light.
3.01.w Funf is des Menschen Seele wie des Mensch aus Gutem und
Bosem, ist gemischt, so ist die Funfe die erste Zahl aus Grad' und
Ungerade (dotted around but joined by red line)
3.01.x 'Five is the human soul. Just as mankind is comprised of both
good and evil, so the five is the number made of even and odd'
click on doorway:
3.06
FACE SCREEN
3.06.r Screen 01
3.06.h Right hand statue - screen 05
3.06.d Bare floorboards at bottom; carved face at left; arch with
figure on it at right, through arch more stonework
3.06.w I consider that a man's brain originally is like a little
empty attic, and you have to stock it with such furniture as you
choose.; Sir Arthur Conan Doyle; (1859 - 1930); English author;
Sherlock Holmes, A Study in Scarlet; ch. 2 (1887)
3.06.a [att_06a.wav] EP: Man's brain is like an empty attic at
birth; [att_06c.wav] DP: Inside the face, you will find another
puzzle, in the nick of time
3.06.s [attmus11.wav] Learn from yesterday, and learn from yourself
click on right statue:
3.05
CLOWN SCREEN
3.05.r Screen 06
3.05.a [att_05a.wav] EP: Don't worry, be happy; [att_05c.wav] DP:
One, twenty, nine and three. What do these mean to me?
3.05.s [attmus05.wav] And I'll learn from yesterday; [attmus14.wav]
It's not what we say, talk is cheap
3.05.f [laugh01.wav] Laughter
3.05.v [l3apu.avi] I'm ready for my close-up, Mr Gnant
3.05.w TT ITTA; ATTIC
3.05.d Background is pitted stone; mid ground is three views of
statues on stone work, central one is as on screen 06; foreground is
clown with tear painted below eye, and another eye and tear
back; back; click on basin:
3.15
BASIN SCREEN
3.15.r Screen 01
3.15.h Camera - screen 08
3.15.a [att_15a.wav] EP: My career is all washed up; [att_15b.wav]
EP: Shudder to think
3.15.d In background are roof beams and drawing of camera; in
foreground is a dented tin basin on tiled floor with a camera inside
3.15.s [attmus14.wav] It's not what we say, talk is cheap
3.15.f [camera02.wav] Pictures being taken (hollow-sounding)
3.15.c Is there an image reflected in the camera lens?
click on camera:
3.08
CAMERA SCREEN
3.08.r Screen 15
3.08.h Lens - screen 07
3.08.a [att_08a.wav] EP: It's still shut; [att_08c.wav] DP: Simple
addition will do the trick; [att03-t.wav] SG: After the lights and
the camera
3.08.s [attmus08.wav] I was blind to judge, it's not up to me
3.08.f [camera01.wav] Picture being taken
the sum of nine and so on; [att06-t.wav] SG: Take the first of nine
and so on
3.14.f [shatter2.wav] Glass breaking
3.14.m When radio is clicked, some indistinguishable radio sounds
are heard as if dial is being turned
3.14.w Take the SUM of NINE and so on
3.14.d Background of green lumpy tiles, with old-fashioned radio
with four empty bottles on top and another six and a half in front,
plus a bottle opener; more coils of wire on top
back; back; click on case:
3.17
BRIEFCASE SCREEN
3.17.r Screen 09
3.17.h Box - screen 11; case - screen 18
3.17.s [attmus04.wav] Filling up my tank with bait, this time I
won't be late
3.17.a [att_17a.wav] EP: Any number plus itself is even;
[att_17c.wav] DP: A total in this room is the fifth prime plus
itself; [att02-t.wav] SG: A total in this room is the fifth prime
plus itself
3.17.v [l3as3.avi] (looking at hand mirror) Why, that's strange,
what is this? What can it mean? 'To shoot the moon atop Namibia,
prepare to be lead with dragged gait.' The rest is blurry. I cannot
read this. Props!
3.17.w A TOTAL IN THIS ROOM IS THE FIFTH PRIME PLUS ITSELF
3.17.d Background is attic scene with insulation, frames, wires; two
boxes in foreground, one with briefcase on top - case is slightly
open
click on box:
3.11
BOX SCREEN
3.11.r Screen 17
3.11.h Box - screen 22
3.11.a [att_11a.wav] EP: It's one for the money, two for the show;
[att_11c.wav] DP: Additional will keep you in your place
3.11.f [crash01.wav] Door slamming
3.11.s [attmus09.wav] Content with working on myself, it's the only
cheese I need to chase, and it's not easy to take off the shelf
3.11.d More eaves and insulation; on right is cardboard box
3.11.w 1 2; It's both the expression of one and two; Spirit Mind
Body; Do Not Think About Organization.
Click on box:
3.22
LIGHTBULB SCREEN
3.22.r Screen 11
3.22.h Book - Book 'Split Against Myself'
3.22.a [att_22a.wav] EP: That's a switch; [att_22c.wav] DP: Don't
box me in
3.22.f [walswtch.wav] Click of switch
3.22.m When switch is clicked, light comes on - only then can book
be accessed
3.22.d At first dark scene of boxes etc., light bulb, and lit up
light switch; when light is on, box, book and lantern on its side are
visible
click on book:
3.B
SPLIT AGAINST MYSELF
3.B.h picture - LIBRARY screen 07
3.B.w SPLIT AGAINST MYSELF I remember the night I was born. The
stars shone brightly overhead while there was a new moon. I was born
in 1967 in Jerusalem. My father always calls me Ali, my mother calls
me Eli. They are not in love anymore, at least not on the surface.
Their love for each other was smothered by me: the schizophrenic byproduct of their historically ill-fated romance. And what an awful
job it was to suffocate each part of myself in turn to save my
parents. Through-out my life, I have always been the one to split so
that they could remain whole. The olive trees outside my father's
house have been there for thousands of years. Who knows, maybe my
prophetic forefathers, Ishmael and Isaac, even ate their salads made
from olives from these same light green, prickly branches that I eat
from now. Sometimes at night, I walk through the olive fields and lay
on the grass. I look up at the night sky and imagine the moon in
battle against the stars. The victory prize is me, but so far no one
has won: they haven't even begun to negotiate. So I remain an enigma.
My father used to tell me stories about the days of the glorious
Islamic empire. He would rage on about the times of great Arab glory
and would rant about the Caliphates of Uthman, Abu-Baaker and other
early rulers. These stories made me wonder why I hated myself. How
could I love the one part of me and hate the other? We would sit
among the olive trees while my grandmother Sammia and my aunts picked
the ripe green olives from the trees; the ancient trees which are my
roots as well as my foliage. Father would speak of Sultan Sulieman,
the Ottamans Jamal Abdul Nasser and praise all the good things they
did for Arabs everywhere. Then he would quickly turn black and red
in the face and begin to storm about the Zionist enemy who is halfembodied in his own embryo. He always hated the Zionists: they took
away his pride: his land. And pride and honor are everything to the
Arabs. Sometimes I wondered why he loved my mother. But then I know
the answer. They had to fall in love for me to exist and my
existence was preordained. From the dawn of history, my existence
was a necessity. From the first star's light to the first full moon,
my birth was heralded by all the gods in heaven as well as all the
demons in hell. I am the battlefield of my country; only on me can
they become themselves. I am not two ends of a continuum, I am
forever joined, only one point. Points cannot be split, just as I
must be united in order to survive. I remember the stories that my
mother used to tell me about the war. She was a security officer in
the Israeli Defense Forces. She said that my father was a man who
desired peace as much as she did. So I was brought forth from two
peace-desiring people who had to fill each other up be uniting the
two halves of a coin that doesn't exist anymore. I am a currency
that doesn't buy anything. In this world, I have no value. Because
she was still nursing me, she was not allowed to fight with her
combat unit. Because she was suckling the enemy, she would not kill
him. I used to hate her olive green uniform--the olive green blended
in so well with my father's olive trees. It blended in with the olive
trees all over Israel. "Israel" is a real problem for me. When I'm
my mother's Eli, I am Israel. When I am my father's Ali, I am a
Palestinian refugee without a country. So I am a refugee in my own
country, a fugitive from religion, an outcast from history. But who
am I? Am I Ali, son of my father, a good Muslim Palestinian refugee
who is willing to die to express the solidarity of my people? Will I
die waving a Christmas- colored flag against the guns of my brother
on the side of my mother? Or am I Eli, son of my mother, a good
Jewish boy who learned my Torah (as well as my Holy Quran) at the
early age of seven? Will I slowly kill myself by strangling my father
regarding a most private matter. I only hope that after hearing me,
you will choose not to condemn me, but to understand me. Please meet
me tonight at 7:00 underneath the bell tower. Until then, R; Ln 13 a
trio of the five; POST
back; back; back; back; back; click on gears:
3.12
FISH SCREEN
3.12.r Screen 03, KITCHEN screen 13
3.12.h Fish - KITCHEN screen 13
3.12.d Background is close-up of machinery; on top is diagram
showing 19 degrees, and picture of neon sign shaped like a fish
hanging from a ceiling; astrological symbols for Saturn and Pisces
3.12.w 49.5 minutes; fresh; forty-nine point five; 19 degrees
3.12.m Picture of fish sign (rather than just sign itself) flickers
like faulty neon sign with buzzing noise every so often
3.12.e Sometimes clicking on hotspot leads to blank screen, but
hotspots are obeyed as if correct screen
3.12.s [attmus04.wav] Filling up my tank with bait, this time I
won't be late; [attmus12.wav] Learn from total strangers, you'll find
what you're looking for
3.12.a [att_12a.wav] EP: WCOD 49.5; [att_12c.wav] DP: Six degrees of
separation makes a nice and tidy conjunction
3.12.c what does att_12c refer to?
3.12.x the astronomical symbols refer to a date of 5th October 1995
or 7th January 1996
3.13
WINDOW SCREEN
3.13.r Screen 03, DEN screen 11; BEDROOM screen 13
3.13.h Window - screen 02; lamp - screen 04
3.13.a [att_13a.wav] EP: Turn right at the morning star
3.13.f [lavalamp.wav] Bubbling
3.13.s [attmus04.wav] Filling up my tank with bait, this time I
won't be late
3.13.v [l3as2.avi] You can't imagine how difficult it is for a star
like me ... No, make that an entire constellation ... Well, I simply
cannot keep up with all the fan mail from all you wonderful people
out there in the dark
3.13.d Window with stars through it; lava lamp
click on window:
3.02
STARS SCREEN
3.02.r Screen 13
3.02.a [att_02a.wav] EP: When you wish, wish upon a star;
[att_02c.wav] DP: Fill in the blanks, and you're on your way
3.02.d Background of many stars, seven are larger, plus reflections,
plus probably Saturn with rings
3.02.w "VERY OFTEN, THEREFORE, IN [ ] AFFAIRS WE ARE SUBJECT TO [ ],
THROUGH IDLENESS, SOLITUDE OR STRENGTH, THROUGH THEOLOGY AND MORE
SECRET PHILOSOPHY, THROUGH SUPERSTITION, MAGIC AGRICULTURE AND
THROUGH SADNESS"
3.02.s [attmus03.wav] There is no space in the window
3.02.f [space02.wav] Ghostly sound
3.02.i Quotation is from Marsilio Ficino; the missing words are
'human' and 'Saturn'
back; click on lamp:
3.04
LAMP SCREEN
4.03
PILLARS SCREEN
4.03.r screen 00
4.03.h Violin - screen 04; chest - screen 11; lights - screen 14
[when full moon]
4.03.d Same pillars as entrance but in black and white; behind them,
black and white view of dining room - visible are ceiling with
chandelier, table with tablecloth and centrepiece, glass fronted
cabinets, doorway on right and chest; in colour, chair with violin
and bow on it; vague blue shape on right - violin again?
4.03.w GEOMETRICALLY, A SQUARE IS THE MOST STABLE OF ALL FORMS
4.03.f [violin02.wav] Classical music - Turkish March by Mozart; [china01.wav]
dropped glass;
[rockslid.wav] rocks sliding against each other
4.03.i [Music played?]
4.03.a [dine_03a.wav] EP: Geometrically speaking, of course;
[dine_03b.wav] EP: The most stable of all forms; [dine_03c.wav] DP:
The number of sides
4.03.s [dinmus01.wav] I want to be the one your finger falls upon
click on violin:
4.04
MUSIC SCREEN
4.04.a [dine_04.wav] EP: Time flies; [din02-t.wav] SG: Look in the
cellar for a vocation
4.04.r screen 03; BEDROOM screen 20
4.04.h violin - screen 17; music - screen 18; flower - screen 19
4.04.f [violin04.wav] classical music; [violin05.wav] classical
music
4.04.s [dinmus01.wav] I want to be the one your finger falls upon
4.04.i Music played is Eine Kleine Nachtmusic by Mozart, start of third movemen
t
4.04.d Background is upper part of background from screen 03;
superimposed are chair, violin and bow from screen 03, sheet music
from entrance screen, and daffodil/narcissus
4.04.w COMPLETING AN ORBIT OF THE SUN IN 225 DAYS
click on violin:
4.17
COMPOSERS SCREEN
4.17.r screen 04
4.17.a [dine_17a.wav] EP: Every good boy deserves fudge;
[dine_17b.wav] EP: Learn to appreciate the classics; [dine_17c.wav]
DP: Dead composers may be best. One note stands out among the rest
4.17.f [tschaiko.wav] classical music; [hayden.wav] classical music
4.17.i Music is Swan Lake by Tchaikovsky and String Quartet No 0 by Haydn ('the
Joke')
4.17.w Joseph Haydn; Peter Tschaikovsky; four members of the violin
family
4.17.d Portraits of the two composers; five musical staves and whole
notes - two bass clefs, one treble clef, one ?? clef and one larger
brown stave with clef not on screen; notes are GDAE on treble clef,
CDGA on one bass clef and EADG on the other, ???? on the ?? clef, and
the larger one appears to be a repeat of the treble clef; the E on
the smaller treble clef is brown, the other notes are gray
4.17.s [dinmus02.wav] Looking everywhere but in the mirror
back; click on music:
4.18
PIANO SCREEN
4.18.r screen 04; LIBRARY screen 20
4.18.a [dine_18a.wav] EP: You must have sharp sight or you'll fall
flat
4.18.h piano - LIBRARY screen 20
4.18.f [piano01.wav] classical music; [piano02.wav] classical music
4.18.i [Music played?]
4.18.w Costanzo Porta wrote a 4-part motet which could be sung
upside down; Vobis datum est cognoscere mysterium [your task is to
understand the mystery]
4.18.d Sheet music in background; in front is oval view of piano
keys
4.18.s [dinmus01.wav] I want to be the one your finger falls upon
back; click on flower:
4.19
FLOWERS SCREEN
4.19.r screen 04
4.19.a [dine_19a.wav] EP: Oh mercy on me; [dine_19c.wav] DP: Break
on through to the other side
4.19.m wordsearch answer provides access to a further screen
4.19.h daffodil - screen 20
4.19.f [trumpet1.wav] trumpet music; [trumpet2.wav] trumpet music
4.19.w BWRSDSCOC; LHBIMOLFG; QARMYMATN; TTHOKEXHI; WAGPSTNES;
QPKEUISGS; NJUSTMHVI; ELZVIEEJM; COUDFSARE
4.19.s [dinmus6.wav] Look up, look down, but never as an equal
4.19.d Background is black and white bouquet of daffodils and
?crocuses; drawing of trumpet; foreground is colour daffodil
click on daffodil:
4.20
IRIS SCREEN
4.20.r screen 19
4.20.a [dine_20a.wav] EP: You weren't looking for this;
[dine_20c.wav] DP: Letters here, letters there, any letters in the
air?
4.20.h 4.20.w JUMX; BGAP; ZLET; COSQ; HFWK; NDYV
4.20.d a few blurred blobs in background; in foreground is iris and
four nearly concentric circles like orbits
4.20.s [dinmus05.wav] There's nothing wrong with rolling around in
the dirt
back; back; back; click on chest:
4.11
BIBLE SCREEN
4.11.r screen 03
4.11.a [dine_11a.wav] EP: It's a safe bet; [dine_11c.wav] DP: A
repeated number - what could it mean?
4.11.h mask - screen 07; safe - screen 09; bible - screen 16
4.11.w creation; four corners of the earth
4.11.f [choir01.wav] chorus of voices; [safeclos.wav] creak of door
4.11.v [l5drs2.avi] Many is the time the Professor would sit here
and compose passages of poetry. I wonder where he could have put ...
Of course! It's right here: Consider the charms of the nightly
pull, petition the lunar power 'til your will is full; Be ye Caliph
or be ye Raver, This simple spell be not palaver.
4.11.s [dinmus04.wav] You've got to get your feet wet first
4.11.d dining room wall, against which is dresser with mirror and
two drawers visible (one with a knob, one with a looped handle), on
which are a mask, a mat like a metal coaster, and a wooden
candlestick, and also a safe with an indecipherable label on it; to
EYES SCREEN
screen 06
pocket - GAME ROOM screen 04
[dine_08a.wav] EP: Anyone wanna go swimming?
[billiard1.wav] Pocketing of ball
Sight as if through eyes of mask of red pool table - balls
to be in starting position; brick wall behind
Entrance
Gatewheel; BEDROOM Screen 01
saucer - Screen 05
[boyblue.wav] Introduction
5.00.d A flying white cup and saucer with a dark green rim above a
row of tiles, three wide by seven long
5.00.f [on click] [saucer01.wav] putting down of teacup
5.00.v [l2kit5.avi] [emerging from cup] I probably shouldn't be
doing this, but I thought I'd make us a little snack. You set the
table and I'll do the cooking. And I happen to be a great cook. You
should try a slice of my angel food cake. Mmmmm, with strawberries
and ... let's eat!; [l2kpu.avi] [emerging from cup] You devil, you!
Click on saucer:
5.05
FLOWERS SCREEN
5.05.r Screen 00; GARDEN Screen 08
5.05.h counter - Screen 07; table - Screen 08; telephone - Screen
24; flowers - GARDEN Screen 08
5.05.a [kit_05a.wav] EP: Come and get it; [kit_05b.wav] EP: Can you
guess what we're cooking up?
5.05.f [drawer01.wav] drawer opening; [phone03.wav] phone ringing
5.05.d large picture at an angle in black and white of a kitchen
table and wooden chairs, with a chandelier, windows and many kitchen
cabinets and a counter to the left, one cabinet is the wall near the
table with a wall telephone and a bottle under it; to the right are
three and a half large yellow flowers; to the left is a pattern of
green, black and white squares
5.05.v [l2kit4.avi] [smelling flowers] How sad the Professor never
had children. He would have made a heavenly father. He often
yearned to hear the pitter-patter of little feet. But he always said
if one was to have children, one must be prepared to follow every
step of parenting to the letter. Frankly, it's not such a tragedy.
Considering he believed in large families - did you know he had eight
brothers and sisters?
Click on counter:
5.07
MYSTERY SCREEN
5.07.r Screen 05
5.07.h kitchen area - Screen 10
5.07.a [kit_07a.wav] EP: To be or - was it to be?; [kit_07b.wav] EP:
Mystery set apart being and non-being
5.07.s [kitmus03.wav] From here to there and back again;
[kitmus02.wav] angels hear you drifting
5.07.v [l2kit1.avi] Greetings, citizens of this mortal plane. I
don't think this was the professor's favourite room - he always had
to do battle with the morning condensation. Still, despite what some
believed, he was never defeated by it. It takes more than a little
dew to unseat a real man. Amen to that! ; [l2kit2.avi] The Professor
was always critical about those who read planetary signs. But
astrology is so popular, I'm afraid he may have offended a few
people. I always told him, if you're going to mix in polite society,
it helps to know the rules of the game.
5.07.w mystery; mystery sets apart being and nonbeing
5.07.d the left half of the screen is a black-and-white negative
image of the right half, which is in colour, except on the left half
there are four footprints on the floor. The scene is of the back of
the kitchen, with a wooden floor, counter with a wooden top, white
cupboards, a hob and extractor hood, coffee machine, white kettle on
the hob and an oven.
Click on kitchen area:
5.10
SENSES SCREEN
5.10.r Screen 07
5.10.h kettle - Screen 02; gas ring - Screen 03
5.10.a [kit_10a.wav] EP: It only makes sense; [kit_10b.wav] EP: Five
is the number of man; [kit_10c.wav] DP: Plead the fifth in this room
5.10.s [kitmus02.wav] angels hear you drifting
5.10.f [coffee01.wav] a hot drink being poured; [kettle01.wav] a
kettle whistling
5.10.w 5 the number of man; Sight Sound Smell Touch Taste
5.10.d in the centre is a black and white image of the hob from the
previous screen; at top is a gas ring and at lower right is a copper
kettle with ceramic handle, knob on lid and whistle
click on kettle:
5.02
CUPS SCREEN
5.02.r Screen 10
5.02.a [kit_02c.wav] DP: Just reach out and touch me
5.02.m three cups slide on to the screen to complete the picture the upper left one from the left group [with a clink], the upper
right one from the right group [with a scrape] and the lower left one
from the top group [with a clink]
5.02.w kai-fey kaffe koffie cafe[acute acent]; kafe[acute]o
caffe[acute] Kaffee ke[acute]hi cafea; kahvi cafe[acute] kophe kawa
5.02.d in the centre are a row of six hooks with coffee cups hanging
from the first and fourth hooks; around the edge are three groups of
cups viewed from above: [braille words] the top group handle
positions go 5 none 3 4 10 3, the left group go 5 4 11 none 10 11,
the right group go none 4 11 none 3 1
back; click on gas ring:
5.03
TRUMAN SCREEN
5.03.r Screen 10
5.03.h 'TRUMAN' - Screen 22
5.03.a [kit_03a.wav] EP: Too many cooks spoil the broth;
[kit_03b.wav] EP: If you can't stand the heat, get out of the
kitchen; [kit_03c.wav] DP: All those numbers - what can they mean?
5.03.s [kitmus01.wav] Boy blue, where are you?
5.03.w IF YOU CAN'T STAND THE HEAT GET OUT OF THE KITCHEN;
TRUMAN; 11-1 4-4 8-1 W L 6-2 4-5 7-1 11-6 4-3 B L 7-2
5.03.d the left half of the screen is a black and white negative
image of part of Screen 05; the writing is on the right except for
'TRUMAN' which is across the centre
click on 'TRUMAN':
5.22
WAR SCREEN
5.22.r Screen 03
5.22.h plane - Screen 20
5.22.a [kit_22a.wav] EP: It was the best of times, it was the worst
of times
5.22.s [kitmus04.wav] Boy blue, I'm calling you. You're getting
sleepy; [kitmus05.wav] Did you use to cause this pain
5.22.f [airplan2.wav] Plane flying past
5.22.w 7; WAR; PROVERBS 11:14 Where there is no guidance, the
people fall, but in abundance of counselors there is victory.; 9K G
9 K
5.22.d the background is a superimposed black and white image of a
war cemetery and a cloudy sky; in the foreground is a lime green
call M
5.01.s [kitmus09.wav] Where are you little boy blue
back; back; click on vase:
5.09
VASE SCREEN
5.09.r Screen 24
5.09.a [kit_09a.wav] EP: Don't look so puzzled; [kit_09c.wav] DP:
Put them all together
5.09.f [china01.wav] Breaking crockery
5.09.w NHEHGPTMA; AOGQRNUIF; MNZYUKMNB; CECFBAYUE; FBLDCFLSM;
UQKVOADSJ; VTENJBRII; ZSEMGDSZW; EOXDVNINE
5.09.d several brown and black vases, with one large one in the
centre - different from the one in the previous screen
back; click on clock:
5.13 MOSAIC SCREEN
5.13.r Screen 24; ATTIC Screen 12
5.13.h either eye - ATTIC Screen 12
5.13.a [kit_13c.wav] DP: I equals H
5.13.f [choir02.wav] deep choir sound
5.13.s [kitmus07.wav] Revelations dance, dance in my brain;
[kitmus08.wav] where are you, where are you little, give a little
bit, give a little bit
5.13.w spiritual teachings of bread and fish; JPLEX BPL BHII EXXV
JPX FZEBXDE FDX BHEX (ULE, JDXE, KQFJDL)
5.13.d a rough mosaic in sepia of a fish on either side of a shape
in the middle, obscured by a faint image of some reeds
click on either eye:
5.23
GRAPES SCREEN
5.23.r Screen 24; DINING ROOM Screen 07
5.23.h middle grapes - Screen 14; right grapes - DINING ROOM
Screen 07
5.23.s [kitmus08.wav] where are you, where are you little, give a
little bit, give a little bit
5.23.w but others were mocking and saying they are full of sweet
wine ACTS 2:13; T; wine
5.23.d there are two superimposed images of bunches of red grapes,
and green cylinders of ?bamboo
click on middle grapes:
5.14
KNIVES SCREEN
5.14.r Screen 23
5.14.h watermelon - Screen 18; swords - Screen 19
5.14.a [kit_14c.wav] DP: Take the engraved initial with you
5.14.f [knives01.wav] sharpening of knives; [chopping.wav] three
chops on chopping board
5.14.w BY; H
5.14.d in the centre is a chopping board with two knives on it;
behind it at top right is a chopped ?watermelon and at bottom left a
slice of lime; the background is a larger fainter image of the lime
click on watermelon:
5.18
MARKET SCREEN
5.18.r Screen 14
click on drawer:
6.02
JUNK SCREEN
6.02.r Screen 03; LIBRARY Screen 10; DINING ROOM Screen 10
6.02.h postcard - Screen 17; thread - Screen 18
6.02.a [bed_02a.wav] EP: Having a great time. Wish you were here
6.02.f [desk01.wav] rolltop desk opening or closing
6.02.w POST CARD THE ADDRESS TO BE WRITTEN ON THIS SIDE; 26 May
1949 My darling Jonathon, Thank you so much for your letter and
postcards. I hadn't realized how much I would miss you. Something
quite odd happened to me today. I was sure I was being followed. I
just had a strange feeling. Anyway, I never saw anyone but ...;
Jonathon Faulkner 7 Ram's Head Lane Oxford England
6.02.d appearing to spill out of the drawer are a postcard, writing
to the front, at right, above which is a spool of red thread and a
pair of scissors, and another postcard of ?Trafalgar Square in
London, on top of which are two paper clips, three rubber bands, a
roll of tape, a square nut and the end of a green and white ruler;
the drawer is at the bottom
click on postcard:
6.17
POSTCARD SCREEN
6.17.r Screen 02
6.17.a [bed_17a.wav] EP: I will follow you; [bed_17b.wav] EP: Read
between the lines; [bed_17c.wav] DP: Don't forget to read between the
lines
6.17.f [airplan2.wav] aeroplane flying past
6.17.w The side may have a message written upon it for POSTAGE IN
THE BRITISH ISLES ONLY the ... must be ... stamp and address; C. W.
Faulkner & Co., London, E.C. Series No ?T08A. British Production;
POST CARD THE ADDRESS TO BE WRITTEN ON THIS SIDE.; HALF PENNY;
CHISWICK ...; Jonathon Faulkner 7 Ram's Head Lane Oxford England
Airmail; 26 May 1949; My darling Jonathon, Thank you so much for
your letter and postcards. I hadn't realized how much I would miss
you. Something quite odd happened to me today. I was sure I was
being followed. I just had a strange feeling. Anyway, I never saw
anyone but just felt uneasy. Probably just my imagination. I am
sure that is all it was. Hope things are going well for you! Love,
[unrecognisable flourish]; ln. 14 wd. 2-4; Miss D [or R]...;
?March
6.17.d the background is a surface like bark; the postcard from the
previous screen occupies the bottom right of the screen
6.17.q 'that is all': words 2-4 on line 14 of the postcard
back; click on thread:
6.18
SEWING SCREEN
6.18.r Screen 02
6.18.a [bed_18a.wav] EP: Re - a note to follow so; [bed_18c.wav] DP:
A phrase and some number - put them together
6.18.w ...a needle pulling thread; DURKOPP; 19.02.05 01.11.10
6.18.d the background is like the surface of a plank of wood; most
of the picture is taken up with a postcard of a sewing machine; on
top of it is a red cotton reel although not the same as the one in
screen 02, with the thread coming from it threaded through a needle
6.18.c 're' does not follow 'so' - is this a clue for the word
'sore'?
6.18.q 'and all': numbers indicate letter positions in 'a needle
pulling thread'
back; back; click on window:
6.07
CANDLES SCREEN
6.07.r Screen 03
6.07.h window, then flower - GARDEN Screen 04
6.07.m [st_gl-09.avi] When the wordsearch is solved and the window
clicked, it swirls and turns into a flower, giving access to the
Garden
6.07.a [bed_07a.wav] EP: Don't look so puzzled; [bed_07c.wav] DP:
Open the windows and go beyond
6.07.w AYECGAREQ; MBPAJRXFD; ZATHISOEW; KBNSEUHWM; DICIPNDBX;
TEOCREJFK; SSNOBTBRY; AHBIFULVG; GZQVLWITH
6.07.d the right hand half of the screen contains the stained-glass
window from screen 03, but this time the outside is brown, the centre
green and the base purple: the colours are reflected in the
wordsearch on the left; two lighted candles are in silhouette in
front of the window
6.07.s [bedmus03.wav] Do I seek it? Have I found it? Do I seek it,
have I found it?
back; click on table top:
6.08
TABLE SCREEN
6.08.r Screen 03; GAME ROOM Screen 08
6.08.h address book - Screen 09; clock - Screen 19
6.08.a [bed_08a.wav] EP: Don't be alarmed
6.08.f [clock03.wav] clock ticking; [pages02.wav] three pages
turning
6.08.s [bedmus03.wav] Do I seek it? Have I found it? Do I seek it,
have I found it?
6.08.w Address Book; J.W.Faulkner
6.08.d The top of the bedside table, with a black address book with
gold lettering at lower left, and an old-fashioned alarm clock at top
right ?showing 5:37
click on address book:
6.09
ADDRESS BOOK SCREEN
6.09.r Screen 08
6.09.h book - BOOK
6.09.a [bed_09a.wav] EP: Here's looking up your old address
6.09.f [pages03.wav] three pages turning
6.09.w Address Book; J.W.Faulkner; Name Address; Name Address; C
D; K L; W X; S
6.09.d a close-up of the address book is in front of various parts
of it: blank entries and letter tabs, in blurred black and white
click on book:
6.B
Address Book [this generates a separate taskbar entry]
6.B.r Screen 09; KITCHEN Screen 04
6.B.w [each page has 12 entries of:] Name Address Tel. No.; back
exit; [first page no entries]; A B: Bugz-B-Gone (765) 276 3683 (x7)
[can be dialled]; C D: Creative Cavortions 468 Fleet Street Dinot,
NY (336) 326 2464; [crossed out] Denny's Dry Cleaning .. Modern Park
Hwy Redmond, WA 392 9888; [name crossed out] Carri Roberts (477)
774-7831; Robert Canlan 9316 200th Place SE Wipsnade, OR. (331)
424 1766; Riccardo Capluctio 4421 East Brothens Drive Tucson AZ
Entrance Screen
7.00.r Gatewheel
7.00.h door - Screen 04
7.00.s [lucky2nt.wav] Introduction
7.00.f [on click] [shake03.wav] shake and throw of dice
7.00.d the walls are illuminated pillars rather like large cigarette
lighters; the entrance has a carousel-like set of lights on top,
windows on left and right of a red frontage and a decorative door
click on door:
7.04
GAMES SCREEN
7.04.r Screen 00; GARDEN Screen 05; DINING ROOM Screen 08
7.04.h alcove table - Screen 05; pool balls - Screen 10; chess
piece - Screen 13
7.04.a [game_04a.wav] EP: Would you like to play a game?;
[game_04b.wav] EP: No human being is innocent
7.04.s [gammus01.wav] Hi, nice to meet you, mind if I come and
play?; [gammus03.wav] I'm just feeling so lucky tonight
7.04.f ([violin03.wav])
7.04.v [l1gr5.avi] Hey, hey, hey! Careful where you put your drink
down! You don't want to leave rings on the pool table! That would
certainly spell disaster! What the? That's weird. What could this
mean? 'It is the only game we play we never win. Come what may.'
7.04.w GAMES No human being is innocent, but there is a class of
innocent human actions called games. -W. H. Auden; CHECK
7.04.d the central image is a view of a red pool table with the
balls still in their wooden triangle, and a brick wall with a
circular alcove with a table and four chairs and a light above; to
the right is the chess piece found in the Garden with seven images of
a black and white brick wall in a checkered pattern below it
click on alcove table:
7.05
SCRABBLE SCREEN
7.05.r Screen 04
7.05.h table - Screen 06; tiles at top - Screen 12
7.05.a [game_05a.wav] EP: Triple letter score; [game_05b.wav] EP:
Victory has a hundred fathers, but defeat is an orphan
7.05.s [gammus01.wav] Hi, nice to meet you, mind if I come and
play?; [gammus04.wav] Don't be apprehensive, I'm not out to win
7.05.f [scrabbl1.wav] tinkle of single tile
7.05.v [l2gr1.wav] How about a friendly little game of vingt-et-un?
That's blackjack to those of you who don't get it ... Just say the
word. No? Then how about some 52 pick-up? [throws cards]
7.05.w SCRABBLE Victory has a hundred fathers but defeat is an
orphan -Galeazzo Ciano; P R .. V I ..; DOUBLE LETTER SCORE; ..ABBLE
7.05.d in the centre is a black and white image of the alcove, which
has a table and four chairs in it, and on the table is a scrabble
board on a pedestal, one rack of letters is visible and ther is also
an open book on the table; behind the image is a colour image of the
top of a scrabble board with four tiles visible
click on table:
7.06
PUZZLE SCREEN
7.06.r Screen 05
7.06.h book - Screen 23
7.06.a [game_06a.wav] EP: What _is_ a puzzle?; [game_06c.wav] DP:
Anything that arouses curiosity or perplexes, because it is
unexplained, inexplicable or secret
EIKAGQH SCREEN
Screen 05
left board - Screen 16
[game_12a.wav] EP: How many points for the letter R?;
POOL/JUKE SCREEN
7.10.r Screen 04
7.10.h jukebox - Screen 07; - Screen 11
7.10.a [game_10a.wav] EP: Put the eight ball in on the break;
[game_10b.wav] EP: A successful struggle against an opponent or
obstacle
7.10.f [billiard1.wav] ball being hit and pocketed
7.10.w A SUCCESSFUL STRUGGLE AGAINST AN OPPONENT OR OBSTACLE - A
STATE OF HAVING TRIUMPHED
7.10.d the background is a brick wall; in the centre is an inset of
a red pool table with a blurred cue ball lined up at the break; at
top right is an old-fashioned juke box
7.10.s [gammus03.wav] I'm just feeling so lucky tonight
click on jukebox:
7.07
JUKEBOX SCREEN
7.07.r Screen 10
7.07.h jukebox screen - Screen 08; musical notes - DINING ROOM
Screen 17
7.07.a [game_07a.wav] EP: Please take note
7.07.f [jukebox.wav] selection being made on juke box
7.07.s [gammus02.wav] Do you think it's a little too early for me to
start acting this way?
7.07.w ROCK
7.07.d the background is possibly an enlarged image of the inside of
a jukebox - the word 'ROCK' is just visible; at front right is the
jukebox with two green lights on inside and rows of orange and green
buttons at the front; at left are four large orange musical notes,
although the stave only has four lines - if a treble clef with the
top line missing they would be A C F (all quavers) and A (a crotchet)
7.07.v [l1gr2.avi] [sitting on the F note] Betcha can't decide which
game to try first. I'd tell ya, but when it comes to competition, we
ain't exactly on the same side. But I'll let ya in on a little
secret - the Professor played whatever he felt like playin'.
click on jukebox screen:
7.08
MUSIC SCREEN
7.08.r Screen 07
7.08.h jukebox - BEDROOM Screen 08
7.08.a [game_08a.wav] EP: Sound to settle the savage soul
7.08.s [ode2prof.wav] [whole of I Will Remember]; [lucky2nt.wav]
[instrumental]
7.08.w The Gayatri (at Sunrise); Boy Blue; We Meet Again; What We
Don't; He and Beauty; [gap] In A Sense; My Little Dancer; Prophecy;
Lucky Night; Take Me To My Kingdom; I Will Remember; M U S I C;
ROCKOLA
7.08.d the jukebox is in blurred close-up, only the top left of it
is visible
back; back; click on cue ball:
7.11
SIX VIEWS SCREEN
7.11.r Screen 10
7.11.h cue ball - Screen 14
7.11.a [game_11a.wav] EP: Keep your eye on the ball
7.11.s [gammus07.wav] I think I'll sit back and observe my fellow
man.
7.11.d The background is a black and white brick wall; there are six
views of balls on a red pool table, five are dim and the largest, at
the top left is bright, featuring a cue ball, one ball and eleven
ball
7.11.m when this screen is entered, it is preceded by shots of five
of the six views on the screen in sequence, like the castles screen
in the Cellar; if view 1 is the top left and they are numbered
clockwise, the sequence is: 5245616; the sound effects from screen 10
continue to play
click on cue ball in bright view:
7.14
G SCREEN
7.14.r Screen 11
7.14.h 'BREAK' - Screen 20; 'FULL BALL' - Screen 15; 'MISCUE' Screen 16; 'HALF BALL' - Screen 19; 'BANK SHOT' - Screen 17;
'SCRATCH' - Screen 18; 'DEAD BALL' - Screen 21
7.14.f [billard2.wav] sounds like putting the balls in the triangle
7.14.v [l2grp.avi] Sometimes nothing is a real cool hand
7.14.a [game_14a.wav] DP: The answer is G; [gam02-t.wav] SG: Look at
the ball, not the moves
7.14.d the bright view in screen 11 is in the centre, but only a
circular portion of it
7.14.w BREAK FULL BALL MISCUE HALF BALL BANK SHOT SCRATCH DEAD
BALL; G
click on 'BREAK':
7.20
BREAK SCREEN
7.20.r screen 14
7.20.h racked balls - screen 15
7.20.f [billiard1.wav] single ball being struck and pocketed
7.20.w B R E A K [flying out from central point]
7.20.a [gam02-t.wav] SG: Look at the ball, not the moves
7.20.d view of pool table with balls in starting position (cue ball
not visible); brick wall in background with cues and triangle against
it
click on balls:
7.15
FULL BALL SCREEN
7.15.r Screen 14; screen 20
7.15.h racked balls - Screen 16
7.15.f [billiard4.wav] possibly break shot
7.15.w FULL [extremely large] BALL
7.15.d the letters of FULL fill the screen and are a view of the
pool table at the start of the game
click on balls:
7.16
7.16.r
7.16.h
7.16.f
7.16.w
7.16.d
object
MISCUE SCREEN
Screen 14; Screen 15
cue ball - Screen 19
[billiard7.wav] cues falling over
miscue [m and i blurred]
there is a circular image of a close up cue ball and the
balls in their original set up in the distance
7.19.h
7.19.f
7.19.w
7.19.d
click on balls:
7.17
BANK SHOT SCREEN
7.17.r Screen 14; Screen 19
7.17.h one ball - Screen 18
7.17.f [billiard6.wav] ball being hit and pocketed
7.17.w bank shot
7.17.d two small circular images, one of the cue ball and one of the
one ball
click on one ball:
7.18
SCRATCH SCREEN
7.18.r Screen 14; Screen 17
7.18.h cue ball - Screen 21
7.18.f [billiard5.wav] several balls being hit, one pocketed
7.18.w SCRATCH [in scratchy handwriting]
7.18.d view of the cue ball and object balls in starting position as
before, but the cue ball and the right hand corner pocket have a
brighter circular image
click on cue ball:
7.21
DEAD BALL SCREEN
7.21.r Screen 14; Screen 18
7.21.f if reached from screen 14: [billiard8.wav] ball being hit
hard and pocketed; if reached from screen 18: [billiard5.wav] several
balls being hit, one pocketed
7.21.w dead ball [sliding upwards]
7.21.d close-up view at an angle, with cue ball in foreground, with
eight ball over a side pocket
back; back; back; back; back; back; back; back; back; back; click on
chess piece:
7.13
MOVES SCREEN
7.13.r Screen 04
7.13.h lower 'the moves' - Screen 01
7.13.a [game_13a.wav] EP: The moves make the game; [game_13b.wav]
EP: Study the moves
7.13.s [gammus07.wav] I think I'll sit back and observe my fellow
man
7.13.d the centre of the screen has an irregular, but right-angled
shape showing a view of a chessboard from above with about eight
pieces visible, all white oriental carved figures. The white squares
on the board have some sort of design on them
7.13.w study the moves; study; the moves
click on lower 'the moves':
7.01
BOARD SCREEN
7.01.r Screen 13
7.01.h black pieces - Screen 24; white pieces - Screen 25
7.01.a [game_01a.wav] EP: In the beginning, all is equal;
[game_01c.wav] DP: Bon jour
8.00
8.00.r
8.00.d
8.00.s
8.00.h
8.00.f
ENTRANCE SCREEN
Gatewheel
Looking at top of stone wall leading into the distance
[gayatri.wav] Introduction
far end of wall - Screen 01
[On click] [walking3.wav] footsteps on gravel
8.14
MANTIS SCREEN
8.14.r Screen 12
8.14.h mantis - Screen 07
8.14.a [gard_14a.wav] EP: All life has this in common
8.14.w cycles of life; ATE 8 [possibly - somewhat illegible]
8.14.d two orbits, one circular and one elliptical each with a red
body; large praying mantis on hind legs
8.14.s [garmus03.wav] Figured out the symbols, learned to read the
signs. Sense them watching me under their light.
click on mantis:
8.07
PASSAGE SCREEN
8.07.r Screen 14
8.07.a [gard_07a.wav] EP: As if dark into light, it moves;
[gard_07c.wav] DP: Passage of a celestial body across the observer's
meridian; [gar02-t.wav] SG: The New York Transit Authority may assist
you in the second
8.07.d one large butterfly (red admiral?); diagram of butterfly in
yellow on left and pupa in green on right, with curved arrow going
from pupa to butterfly; about 12-15 white spots - stars?
8.07.s [garmus05.wav] Omm pur pur va sra ha tats ave to vareina na
bargoh de lasia de ma he de yo yo naeah bra chou dieah.
back; back; back; click on statue:
8.16
BRIDGE SCREEN
8.16.r Screen 01
8.16.h fork - Screen 17
8.16.a [gard_16a.wav] EP: Behind every man is a good woman;
[gard_16b.wav] EP: When Man was placed in the Garden of Eden, he was
put there so that he should work
8.16.w ...When man was put in the garden of Eden he was put there so
that he should work,...
8.16.d garden fork at bottom with some string through top of handle;
background is of bridge with four pillars topped by lights, across
lake, with swan-decorated boats going past behind it and park behind
with large ?willow trees; around edges same wooden planks and eaves
as previous screen; two people walking across bridge
8.16.v [llgs5.avi] The Professor used to expound on how the plant
kingdom was a metaphor for the animal kingdom. But try as he might
to make the translation, he failed to elucidate the listener. Ah
well ... Namaste.
8.16.f [tool01.wav] tinkle of metal object
click on fork:
8.17
TROWEL SCREEN
8.17.r Screen 16
8.17.h white flowers - Screen 08; purple flowers - Screen 15
8.17.a [gard_17a.wav] EP: The zenith of life; [gard_17b.wav] EP:
Which proves that man was not born to rest
8.17.f [digging1.wav] digging earth
8.17.w ...Which proves that man was not born to rest."
8.17.d large trowel in centre, again with loop of string; two insets
at lower right, one of daisy-type flowers and the other of purple
?hydrangeas with yellow ?foxgloves behind
click on white flowers:
8.08
VOLTAIRE SCREEN
8.08.r Screen 17; KITCHEN Screen 05; LIVING ROOM Screen 26
8.08.h white flowers - KITCHEN Screen 05
8.08.a [gard_08a.wav] EP: The harder the labor, the sweeter the
fruit; [gard_08b.wav] EP: Exchanging the fruits of their experience
8.08.w exchanging the fruits of their experience ['fruits' is
yellow, rest of text white]; Voltaire (1694-1778) French philosopher,
author. Candide and Pangloss in the Conclusion to Candide. ch. 30
(1759).
8.08.d white flowers in foreground; mid ground is base of weeping
willow looking over large pond with ducks and some sort of pink thing
on the far side; around edge is eaves and planks as before (and stars
this time)
8.08.s [garmus05.wav] Omm pur pur va sra ha tats ave to vareina na
bargoh de lasia de ma he de yo yo naeah bra chou dieah.
back; click on purple flowers:
8.15
LANTERN SCREEN
8.15.r Screen 17
8.15.h statue - Screen 09; lantern - Screen 13
8.15.a [gard_15a.wav] EP: She may light the way
8.15.d large lantern which lights when cursor goes over it on left;
white statue of classical woman on right with floral bracelet; behind
her, more of the purple flowers;
8.15.m Lantern lights up when cursor passes over it
click on lantern:
8.09
QOPH SCREEN
8.09.r Screen 15
8.09.h head - Screen 11
8.09.a [gard_09a.wav] EP: It's mind over matter; [gard_09b.wav] EP:
The balance of physical force and spiritual inspiration;
[gard_09c.wav] DP: The answer is Q
8.09.d fainter close-up of the statue on the previous screen; green
fronds faintly covering whole screen; background is eaves and planks
as before
8.09.w The balance of physical force and spiritual inspiration is in
the base of the brain; Q; Qoph
8.09.v [llgs3.avi] The Professor personally oversaw the landscape
design. he saw just such a garden once in ... Where was it? In
Braintree? Randolph? It might have been even further south. In
fact, it's quite possible. Namaste.
Click on head:
8.11
LIBERTY SCREEN
8.11.r Screen 09
8.11.h statue - LIVING ROOM Screen 24
8.11.a [gard_11a.wav] EP: Give us your poor, your tired, your hungry
8.11.d close up of head and shoulders of Statue of Liberty in
foreground; on right smaller version of whole statue from the other
side; background is planks and eaves as before
8.11.f [harbor01.wav] ships in port - horn and bells
back; back; click on lantern:
8.13
DRAIN SCREEN
8.13.r Screen 15
8.13.h drain cover - CELLAR Screen 20
8.13.a [gard_13a.wav] EP: You light up my life; [gard_13c.wav] DP:
Start heading east; [gard01-t.wav] SG: A dead scientist deep in a
hole may help you
8.13.w BOSTON COMPANY [twice]; Discover the missing word to go
through the drain.
8.13.d neon-lit outline of lightbulb, with drain cover in the
middle; black and white brick wall behind
8.13.f [drain01.wav] water going down drain
8.13.s [garmus02.wav] Bring forth the power of your immortal might.
8.13.m enter the solution to the puzzle to go to the Cellar for the
first time
9
ENTRANCE SCREEN
Gatewheel
bottom of stairs - Screen 01
[takeking.wav] Introduction
Stairs leading down a brick-walled passageway
[on click] [walking6.wav] about twelve quick steps
PADLOCK SCREEN
Screen 00
stairs - Screen 03
[cell_01a.wav] EP: Knock, and the door will open
9.17
BRAILLE SCREEN
9.17.r Screen 14
9.17.h Doorway - Screen 16
9.17.a [cell_17a.wav] EP: Sometimes to see, you need not look;
[cell_17c.wav] DP: I was blind, but now can see
9.17.s [celmus05.wav] And the candlelight exposes the cold and
clammy walls. And I climb the landing staircase and down the empty
hall. I can feel you near me. I know you're here. Who are you?
Who are you? Who are you?
9.17.v [cell1.avi] Since the fall of Rome, nowhere hast it been so
cold. My poor hands are as ice. Oh if only my love were here to
warm me. I shall continue to await the day when this can be. Most
likely 'twill not be until the Renaissance.
9.17.d background is a grey dusty surface; at top right is the
doorway at the end of the previous screen - there are various pipes
and wires going along the ceiling and through the doorway there is a
red panel on the left; at bottom left there are screws and washers in
the pattern of Braille letters
9.17.c cell1 appears to allude to an astrological event which
occurred around the fall of Rome (536) and then in the Renaissance
(c1300-1600). What is it? Neptune going beyond Pluto?
click on doorway:
9.16
INSECT NAMES SCREEM
9.16.r Screen 17
9.16.h 'Odonata' - Screen 04
9.16.a [cell_16a.wav] EP: It's not what you say, but how you say it;
[cell_16c.wav] DP: All those names. What's their number?
9.16.s [celmus01.wav] A dark and strange place I seem to already
know. The framework patterned after the mother below.
9.16.f [electsaw.wav] electric saw starting up and stopping
9.16.v [cell4.avi] What knave be thou, who continues to pester one
such as I? I'd give thee a most thorough tongue-lashing had not my
lord bid me remain civil. I cannot disobey. But would that I could
get inside and away from thee.
9.16.w COLLEMBOLA; PROTURA, THYSANURA, EPHEMEROPTERA; ODONATA;
ORTHOPTERA, PLECOPTERA; DERMAPTERA; ISOPTERA
9.16.d there are several vertical wooden supports in two rows at
centre and right and also across the ceiling; a light is attached to
one of the supports, the floor is dirty and there is a wall in the
distance with an opening in it
9.16.c What is the point of these insect names? Their number could
be nine, as there are nine of them, or six as they all have six legs
9.16.i collembola = springtail; protura = telsontail; thysanura =
bristletail; ephemeroptera = mayfly; odonata = dragonfly; orthoptera
= locust, grasshopper, cricket, cockroach; plecoptera = stonefly;
dermaptera = earwig; isoptera = termite
click on 'Odonata':
9.04
INSECTA SCREEN
9.04.r Screen 16
9.04.h Beetle - Screen 02; Dragonfly - Screen 05
9.04.a [cell_04a.wav] EP: It's a long day's night; [cell_04c.wav]
DP: Seven letters that I see - take the two before the three
9.04.m An insect, pale greenish-grey with black spots, walks across
screen upon entry
9.04.f [crawlie1.wav] scuttling of insect
click on pillar:
9.08
CASTLES SCREEN
9.08.r Screen 09; LIVING ROOM Screen 05
9.08.h Centre castle - LIVING ROOM Screen 05
9.08.a [cell_08a.wav] EP: Charge the fortress of stone;
[cell_08c.wav] DP: Enough room for a king
9.08.s [celmus02.wav] Nothing pushed in place yet, pieced together,
perfectly. Where am I?; [celmus06.wav] Take me to my kingdom, take
me to my youth. Lead me to salvation, unlock the doors and make the
entrance smooth.
9.08.f [drawbrid.wav] heavy clunk and thud
9.08.m The images of the seven castles making up the final screen
each appear and disappear in sequence on entry (top left, bottom
left, right, top, bottom, larger middle, smaller middle)
9.08.d the background is pitted like the moon's surface; on top and
overlapping each other, are seven pictures of different castles
9.08.i the seven castles???
back; click on queen:
9.11
CARDS SCREEN
9.11.r Screen 09; GAME ROOM Screen 09
9.11.h Left card - Screen 10; Face - Screen 25; Right card - GAME
ROOM Screen 09
9.11.a [cell_11c.wav] DP: The scarlet letter; [cell03-t.wav] SG: She
is the only one that would take it to heart
9.11.w place of spirit; Q Q; Q Q; A; ... to absorb everything
boundaries
9.11.d the background is black; in the centre third of the screen
vertically is the head of a classical statue of a woman, at left is
the queen of hearts depicting another statue of a woman holding an
olive branch and in an alcove, at right is the queen of spades
depicting another statue of a woman on a pedestal - she is topless
9.11.i the three statues???
9.11.c what do the words in the background signify? Are they part
of a quotation?
click on left card:
9.10
CHERUBS SCREEN
9.10.r Screen 11
9.10.h Cherubs - Screen 13; 'Capricorn' - Screen 15
9.10.a [cell_10a.wav] EP: The ties that bind; [cell_10c.wav] DP:
Won't you be my Valentine?
9.10.s [celmus04.wav] Breathing deeply, to keep my heart from
running rampant. Why am I here?
9.10.w 28ca; pric; orn; 45.3; V
9.10.d the left vertical third of the screen is black, the right
two-thirds depict a statue of two cherubs in a garden holding hands
raised, they are surrounded by a roughly drawn red heart
9.10.i the statue of the cherubs???
9.10.x the astrological information, although the planet is missing,
decodes as 14th February 1996 [sic], if the planet is Mercury.
click on cherubs:
9.13
LEAF SCREEN
9.13.r Screen 10
9.13.h Snake - Screen 27
SOLDIER SCREEN
Screen 06
[cell_28c.wav] DP: Oh no, more grammar!
FACE SCREEN
Screen 14; GARDEN Screen 13
Nose - Screen 12; Rope - Screen 18; Ladder - Screen 19
[cell_20a.wav] EP: Stone sober
[shock01.wav] electric buzzing
[cellp.avi] Was that a cockroach? Eugh!
large roughly-hewn stone face with gold-painted left pupil.
right are a step-ladder folded against the wall and a coil of
the face is the Fremont Troll in Seattle
Click on nose:
9.12
STATUE SCREEN
9.12.r Screen 20
9.12.h Statue - Screen 21
9.12.a [cell_12c.wav] DP: Seek, and ye shall find; [cell05-t.wav]
SG: The investigation must be thorough before you can continue
9.12.w THESDACBJ; INNXIMUXT; NTDMNTNWH; ERFVVQRAE; EKCBJMEUH;
DNEXTHWOE; SYKESOTSXS; PTHEFYNPO; ZIGLDUALE
9.12.m Enter the answer to gain access to one further screen
9.12.s [celmus01.wav] A dark and strange place I seem to already
know. The framework patterned after the mother below.
9.12.d More of the roughly-hewn statue in the previous screen - the
whole of the head and shoulders and left arm are visible. Hair
covers the right eye, chin and chest. The left hand appears to be
holding or resting on something. There is a girder or bridge behind
the statue's head.
9.12.i the face is as in screen 20
Click on statue:
9.21
GRAFFITI SCREEN
9.21.r Screen 12
9.21.h 9.21.a [cell_21a.wav] EP: King of the unbroken circle;
[cell_21c.wav] DP: You only get to choose one. Go ahead - have some
fun
9.21.d graffiti-covered wall
9.21.w NAFX SRGO WHSA; RPTI MSUA NCET; ATON NVHR ESDN; MAMA TROLL
DROP ACID! ..ve ...fer
9.21.i is this graffiti on the bridge that the troll is under?
9.21.c What does cell_21a refer to?
back; back; click on rope:
9.18
KNOT SCREEN
9.18.r Screen 20
9.18.h 9.18.a [cell_18a.wav] EP: Is this a clue, or (k)not?; [cell_18c.wav]
DP: Listen carefully
9.18.w working toward an end
9.18.d the background is a faint sepia representation of the rope in
the previous screen; the foreground has a single piece of thick rope
crossing the screen, with a simple knot in it.
9.18.c what does 'working toward an end' signify?
Back; back; click on ladder:
9.19
WORK SCREEN
9.19.r Screen 20; BEDROOM Screen 19
9.19.h Right picture - Screen 22; Watch - Screen 23; Left picture
- Screen 26
9.19.a [cell_19a.wav] EP: Time keeps slipping into the past
9.19.s [celmus02.wav] Nothing pushed in place yet, pieced together,
perfectly. Where am I?
9.19.w 0900 TO 1700; 9 10 11 12 ... 3 4 5 7 ...; 10 20 30 40 50 60;
ELGIN
9.19.m Second hand of watch rotates; other hands do not. It
occasionally skips a second
9.19.f [dozer01.wav] large vehicle starting up; [backhoe1.wav] large
vehicle reversing; [watch01.wav] three tick-tocks as in back a screen
9.19.d main image is of an old-fashioned stopwatch, set at 10:20,
although the hour hand is too far advanced to be correct. The centre
of the watch has a gold pattern. There are three gold-lined pictures
on top: the left one of a man climbing a ladder fixed to the edge of
a warehouse or similar; the middle one is of two men examining a very
large section of pipe with a ladder two thirds of the way down and
rows of small holes surrounding the main hole in the pipe; the righthand image is of a factory floor making some sort of large lens
shaped object on a trestle table, step-ladders are also in evidence
as is a man sitting astride a large drum
9.19.c what does cell_19a signify?
9.19.i Elgin was a genuine watch manufacturer of what are now collectors' items
click on right picture:
9.22
NYSE SCREEN
9.22.r Screen 19
9.22.h 9.22.a [cell_22a.wav] EP: Look into the future; [cell_22b.wav] EP:
Home of the almighty capitalist; [cell_22c.wav] DP: A complete
reversal
9.22.w 1800; 180o - (ED); NEW ....NGE [after clicking] 1903;
11095610X2; NEW YORK STOCK EXCHANGE
9.22.d the background is in black and white and is a close up of the
front of a Victorian building (the New York Stock Exchange); the
centre is a black-bordered, sepia-colored picture of the central
portion of another building; after clicking, the central picture
completes the missing part of the main picture
9.22.m [c_hall_avi] When the centre of the screen is clicked, it
spins round to reveal a different picture
9.22.f [cashreg1.wav] kerching of cash register; [credit01.wav]
credit card machine
9.22.i the first building is the New York Stock Exchange, the second
building is the Library of Congress
9.22.x the New York Stock Exchange was built in 1903; the Library of
9.24.x the clothes are presumably a homonym for the word required
10
click on fire:
10.05
DRAGON SCREEN
10.05.r Screen 03; CELLAR Screen 08
10.05.h Fire - Screen 12; Statue - CELLAR Screen 08
10.05.a [liv_05a.wav] EP: How was the beast marked?; [liv_05c.wav]
DP: 666 divided into 1
10.05.s [livmus03.wav] I'm going down to the river, I'm gonna throw
myself in.
10.05.f [flame01.wav] burst of flamethrower
10.05.w 696E; And he laid hold of the dragon ... and bound him for a
thousand years; Revelation 20:2; 70617374
10.05.d transparently in the foreground, a Chinese dragon breathing
fire and to its left a red colonnade; in the background in sepia the
top of a corinthian column at the bottom of the screen and either a
continuation of the same building or a separate image with a series
of carved people and more building above
10.05.x presumably the references to 666 etc. are a hint to use
'hex', although hexadecimal code pertains to 16, not six. Never
mind.
10.05.i check accuracy of biblical quote and version of bible; where
is pillar from?
click on fire:
10.12
FIREWORKS SCREEN
10.12.r Screen 05
10.12.h 10.12.a [liv_12a.wav] EP: You'll get a bang out of this;
[liv_12c.wav] DP: The fourth of July
10.12.s [livmus04.wav] Am I forgiven if I throw myself in?
10.12.f [firewrk1.wav] whizz of rocket; [firewrk2.wav] crackle of
roman candle
10.12.w Fourth OF July [very large 'OF']
10.12.d In foreground, many sparks from fireworks; in the
background, some dim grey shapes
10.12.i the shapes are probably the tablet held by the Statue of
Liberty
10.12.x further references to fire
back; back; back; click on phone:
10.18
PHONE SCREEN
10.18.r Screen 20
10.18.h Digit - Screen 19
10.18.a [liv_18a.wav] EP: Do you know where I put the address book?;
[liv04-t.wav] SG: Do not be so quick to make decisions based on the
demands given you. Keep in mind opportunities will present - and fix
- themselves
10.18.m You can make telephone calls by clicking the receiver and
then the numbers - see screen 1.15 for which numbers work
10.18.w # 1 2 3 4 5 6 7 8 9 0 *
10.18.d telephone as in previous screen, with larger numbers around
it with lines pointing to their equivalents on the dial; in the
background is a long circular passageway lined with red pillars
reminiscent of the Game Room entrance screen, at the end it could be
a stage with one or two ?topless people and ?a pile of clothing
10.18.x liv_18a is presumably an encouragement to dial the numbers
in the address book
10.18.i what is the background, and is it the same as the Game Room
entrance screen???
click on digit:
10.19
PHONE NUMBERS SCREEN
10.19.r Screen 18
10.19.h 10.19.a [liv_19a.wav] EP: What happens if your name is nobody?;
[liv_19c.wav] DP: Spell it!
10.19.v [l4liv3.avi] [sitting on telephone] Sometimes the Professor
seemed to regret that he didn't follow a more usual path in life. He
thought he fell short in some ways. And whenever he'd get into one
of those moods, he'd grow cold and distant.
10.19.w 327-347-8268 [and their reflections]
10.19.d telephone in foreground as previous screen; in background
view along the supports of a suspension bridge reminiscent of Library
entrance to the Attic screen
back; back; click on window:
10.25
TABLE SCREEN
10.25.r Screen 20
10.25.h Cards - Screen 24
10.25.a [liv_25a.wav] EP: Is the game over if the game is won?;
[liv_25c.wav] DP: If all cards can be built upon foundations, the
game is won
10.25.s [livmus01.wav] Read my mind like a deck of cards.
10.25.w GAME IS WON; if all cards can be built upon foundations
['if' is large and contains an image of the table]
10.25.d four windows, a polished dark wooden table and two chairs, a
polished light wooden floor, and a tall vase of red lilies, similar
to those in the fireplace screen; on the table are a row of playing
cards and two in front, in front of one of the chairs; possible
reflection of the fireplace in the window
click on cards:
10.24
CARDS SCREEN
10.24.r Screen 25; GAME ROOM Screen 09; GARDEN Screen 13
10.24.h '7' - Screen 22; 'Q' - GAME ROOM Screen 09
10.24.a [liv_24a.wav] EP: She stands for freedom; [liv_24c.wav] DP:
The original substitution
10.24.s [livmus01.wav] Read my mind like a deck of cards.
10.24.w [...] STARS[...]GLED BAN[...]; 2; 6; 7 7; Q
10.24.d silhouette of chair in foreground surrounded by four playing
cards - at top, the two of clubs with the left of the face and the
arm of the Statue of Liberty, at right, the six of clubs, with the
torch of the statue, and the clubs arranged three at top right and
three at bottom left, at bottom, the seven of clubs with the head and
tablet of the statue and the clubs arranged diagonally from top left
to bottom right, at left, the Queen of hearts with the whole of the
statue and an extra heart at top left and bottom right; in the
background is the top of the arch of a building (same as entrance?)
click on '7':
10.22
RAYS SCREEN
10.22.r Screen 24
10.22.h Flag - Screen 01; '7' - Screen 14
10.09.d red writing, and the background is a black and white image
of ?overlapping plates
CLOSING CREDITS
cc.1.d Entrance screen to Den
cc.1.w SIRIUS; Al Bugay Chief Scientist; Douglas J Kingston Tax
Man; Kevin Kossman Morale Specialist; Richard Gnant *.*; Charlie
Glynn "waiting for my truck"; By Example: Erich George Betty
Margaret; Pamela Lord Accounting Sleuth; Jamie Leece Director of
Perishable Goods; Kenneth H. Hogancamp Master of the Quotes; Dan
Elder Printing Czar; Sheri Bohn The Buck$ $top Here; Lynn Hamilton
Potential Reveue Coordinator
cc.1b.d Entrance screen to Den
cc.1b.w
Michael L. Smith Video Capture; David Whipple [plus stick
man with case] Code Completion & Development; Ray Forster Network
Support & Software Testing; Darrell Smith VP - Product Development;
William F. Fidler Pixel Purveyor; Christian Huygen [plus stick man
with case] Code Completion & Development; Phillip G. Lowry
Equipment & Software Acquisitor; Stephen T. Russell Audio Sampling &
Engineering; Elaine E. Korn Express Mail Expert
cc.2a.d
Entrance screen to Library
cc.2a.w VIDEO BY SIRIUS ENTERTAINMENT; Carole A. Scott & Kelly Mayes
Script Supervisors; John Basile Video Tape; John R. Lusitana Audio
Mixer; Bobby Schwartz Audio Assist; Edward G. Dadaluk Camera
Operator; Jerry Kaman Camera Utility; Paul Van Zyl Teleprompter;
Wayne Williams & Keith Perry Still Photography; Doreen Hawbrecker
Costume Designer; Michell Wright Costumer; Dori Randall Makeup;
Wade Graff Hair Stylist
cc.4.d
Entrance screen to Dining Room
cc.4.w MUSIC BY SIRIUS ENTERTAINMENT; Richard Gnant Executive
Producer; Mike Stewart Producer, Engineer, Bass, Guitar, B-3,
Percussion; Mike's Artist Management Soundtrack Executive Producer;
Pedernales Studio Recording Studio; Boo MacCleod Engineer; Michelle
Solberg Guitar, Percussion; Brian Beattie Guitar, B-3, Accordian,
Bass; Floyd Domino Piano; John Hagen Cello; J.J. Johnson Drums;
Jennifer Condos Bass; John Walmsley Mandolin
cc.5.d
Entrance screen to Kitchen
cc.5.w
MUSIC BY SIRIUS ENTERTAINMENT; Richard Feldman Producer,
Engineer, Bass, Keyboards, Guitar; Tom Were Engineer; Orca Studios,
Were Bros Recording Studio; Jamie Mulhobrec Keyboards; Curtis
Mathewson Guitar; Lee Manning Engineer; Denny Fondeiser Drums,
Percussion; John Pierce Bass; Steve Madio Trumpet; Josh Freece
Drums; Haley and Jorie Feldman Background Vocals; Mastered by Steve
"The Man"; Jody Marie Gnant Vocals, Clues
cc.6a.d Entrance to Bedroom
cc.6a.w SOGGY IN SEATTLE; Soggy In Seattle Productions, Inc.
Developer; Cerise Casper Game Concept; Adam Schaeffer Senior
Programmer; Sheryl Mendez Photography; Susan Kopetz Photography;
Starr Samuelson Photography; John Wells Photography; "Split Against
Myself" (c) 1990 Cerise Casper; Special Thanks To William Vablais
Cassandra Kinkead Mark Hervol Adam's Mom; "Language As Reality" (c)
1991 Cerise Casper
cc.7a.d